The Origin of the Eighth ing had been lifted to an extraordinary degree by Richard Wagner who had conferred upon him the Franz Liszt once compared Richard Wagner's Ni­ great honor and high privilege of conducting the first belungen tetralogy with an enormous mountain range. performances of "Parsifal" in Bayreuth. The fact that This very appropriate metaphor can also be applied to a musician of highcst artistic standing and social the symphonic creations of Anton Bruckner. Like prestige championed the cause of a composer hitherto immense icy peaks rising to lofty heights above unknown - Levi had never heard the name beforc the valleys and human settlements, Bruckner's sym­ benefitted Bruckner not only in Germany but also phonies form a mighty range culminating in the in his native land. His stock began to rise in Vienna majestic and gr!indiose Eighth. This was the last sym­ and Richter finallv introduced in 1886 the Seventh phonic work which its creator was able to give to the in the Philharmoni~ Concerts. It was during these two world in a complete form. In his shecr titanic struggle eventful years that the Eighth Symphony came into over the finale of the Ninth, Bruckner succumbed to a being. deadly illness leaving behind the Ninth as the greatest torso of the musical literature. Bruckner commenced Bruckner began the composition in the summer of the Eighth in 1884. He was then 60 years of age and 1884 and concluded the sketch in August 1885. "The only on the threshold of success and recognition. None composition of the Eighth is completed", wrote of his three great masses was printed, only one of seven Bruckner to Levi on September 7, 1885 but he added symphonies published, the Fifth and Seventh were still "I wish the work were also finished", meaning com­ unperformed. The events which turned the tide in his pleted in score. It took him two more years to com­ favor did not occur in Vienna but in Germanv. Bruck­ plete this task. "Hallelujah! The Eighth is ready at ner's Vienna was also the Vienna of Eduard 'Hanslick last and 'my father in art' ("kiinstlerischer Vater") and Hans Richter. Both were powerful men: Hanslick should be the first to receive the news", reported was the critic of the most influential Austrian news­ Bruckner to Levi on September 4, 1887. About two paper "Neue Freie Presse" and Hans Richter held weeks later he dispatched the score to Munich elated k>ur important musical positions in the Imperial city. by hope and indescribable joy of having the symphony He was conductor of the Court Opera, presided over performed through Levi's "masterly hand". Levi lost the Philharmonic OrchestrVienna Philharmonic in 1875 and throughout Schalk, one of Bruckner's most trusted pupils, for the first decade of his tenure he did not program even help. Schalk undertook this sad mission and informed one Bruckner symphony. Small wonder when Bruck­ his master of Levi's rejection. This message caused ner, deeply hurt by this attitude, spoke of Richter as Brucknn to suITer a nervous collapse and he even "the generalissimo of deceit". True, in 1881 Richter entertained thoughts of suicide. Nevertheless he con­ led the Philharmonic Orchestra in a performance of tinued his correspondence with Levi and expressed the Romantic Symphony but it was not in the Phil­ his willingness to revise the symphony. harmonic series. On that occasion he and his musi­ In the meantime he had commenced the Ninth and cians did not run the risk of offcnding the conserva­ taken up the revision of the Third Symphony. The tive taste of their subscribers and irritating the hostile revision of the Eighth was eventually carried out be­ leading music critics by promoting an Austrian com­ tween August 1889 and March 1890. But the pros­ poser who went his own artistic ways. pects of a performance in Munich were gone, be­ The decisive turn in Bruckner's long and bitter cause Levi had retired from the direction of the con­ struggle for recognition came in 1884 with the first certs. He recommended Felix Weingartner in Mann­ performance of the Seventh Symphony in Leipzig heim who consented to program the Eighth during under the baton of Arthur Nikisch. It was not an the Winter season of 1891 and Bruckner looked overwhelming success but the brilliant musicianship, forward to the performance with excitement. Mean­ enthusiasm and determination of Nikiseh, then 29 of 'while Weingartner received an appointment as con­ age, won a victory for his neglected friC'nd. And tm ductor of the Court Opera and the Concerts of the weeks later (March 1885) the sym phony scored a Royal Orchestra in Berlin and he left Mannheim resounding triumph in Munich under Hnmann Levi. pri~r to the" end of the season. This unexpected change This event had far-rC'aehing repercussions. Nikisch, also dashed the hopes for a Mannheim performance although being thm an accomplishC'd mastC'r of the of the Eighth, but after having run the gamut of baton, was still in the ascendancy to fame. His posi­ disappointment and despair, Bruckner had the great tion as first conductor at the Municinal Theater in satisfaction of having the symphony accepted by Hans Leipzig did not carry the great prestige of the Dost Richtn and the Philharmonic Orchestra. It was of a Hofkapellmeister such as the one occupied by played on December 18, 1892, and received with Hermann Levi in Munich. Levi's high artistic stand­ great enthusiasm. Even Hanslick and the Brahms - partisans acknowledged Bruckner's success. Hugo Wolf - called it "a complete victory of the light over dark­ ness" and Bruckner, deeply moved and forgiving the humiliations of the past, expressed his sincerest thanks to Richter and the members of "the highest artistic society in music". Emperor Franz Joseph accepted the dedication of the symphony which appeared simul­ .. taneously in 1892 in Vienna and Berlin.

The Textual Problem At this juncture we must deal briefly with a prob­ lem which is unique in musical history. In the early .. 1920s rumors began to circulate that the first editions of Bruckner's symphonies, published during his life­ time, except for the Sixth and Ninth, do not represent the artistic intentions of the composer. These rumors were substantiated to some degree by the gradual appearance of the critical Gesamtausgabe for which Robert Haas, professor at Vienna University and head 01 the Music Division of the Austrian National Li­ brary was responsible. Bruckner had willed his manu­ scripts to this venerable institution, and Haas was the logical choice for the editorship of the Gesamt­ allsgabe, issued by the National Library (formerly Court Library) in Vienna and the International Bruckner Society. The comparative study of the auto­ graph scores and first editions revealed substantial differences between these sources. This unaccountable and puzzling situation could not be explained because, strangely enough, the printer's copies (Stichvorlagen) which formed the connecting link between Bruckner's autograph scores and the first editions could in most cases never be produced. Thus there was in the opinion of Haas and others no authentic source for the alterations, omissions and instrumental changes evident in the published scores. In accordance with the editorial principles of the Complete Edition, the first editions which were used all over for about half a century, were not considered as verified by the composer and regarded "as arrangements by other hands". They were discarded as source material, for it was the avowed and only purpose of the Complete Edition to present Bruckner's creations in their original version (Originalfassll ng). This term must not be confused, as it is always the case, with Ur­ fassung (very first version). "Originalfassung" in the terminology of the Complete Edition means the ver­ sion extant in Bruckner's autograph which he con­ sidered the final form for presentation to the public. How the t'ditorial practice conformed to the editorial theory we will learn later. The publication of the original versions caused a heated controversy about the authenticity of the first editions and resulted in a campaign against those whom Haas called the "Praktikcr" who were charged with the responsibility for the "distortions". These "practical ont's" were, as everybody knew, primarily Bruckner's pupils Ferdinand Lowe and the brothers Franz and Josef Schalk. True, in the discussion of many specific cases as presented in the very scholarly reports attached to the individual volumes of the Complete Edition, neither Lowe nor the Schalk brothers were openly charged with tampering with the Completc Edition and we can expect the re­ the original text. Nevertheless, a legend impugning the publication of other "revised original versions" which memory of these deserving Bruckner apostles was will differ from the versions edited by Haas. Matters created and often circulated by people who, ignorant will become more complex, the student more bewil­ of the complexity of the problem and the related dered and the listener utterly confused. As for the facts, raised their voices and accused Lowe and Eighth we have to consider the following sources: Schalk of editorial crimes without offering proofs 1. the version of 1887 (rejected by Levi; publica­ to substantiate the charges. It is obvious that the copies tion in preparation) which went to the printer must have born the COIl1­ 2. the version of 1890 (published March 1955 and "ignature and this would to all intents anu used for. ~he Vox-Recording) purposes constitute a de facto authentication of the :3. the first edition of 1892 alterations and changes made in the original text. 4. the edition of the Complete Works, vol. VIII Taking the possibility into account that the lost prin­ edited by Haas. ter's copies bearing Bruckner's signature might some day come to light, Haas insisted that alterations and The version of 1887 employs only woodwind pairs instrum~ntal changes were wrung from Bruckner un­ (two flutes, two oboes, etc.) and shows a different der duress, and he went even so far as to speak of sequence of the middle movements (Adagio ­ "sanctions" imposed upon the helpless composer. Scherzo). The first movement concludes with a power­ full fff passage (reproduced in volume IV,2 of Auer's Music is creai~d to be performed and the creating Bruckner biography) ; the Scherzo has a Trio different artist needs the performer. The suggestions offered to from that familiar to us. The climax in the Adagio Bruckner by such cminmt musicians and distinguished occurs in C major (E flat major in the later version). conductors as Johann Herbeck, Hermann Levi, Ar­ Thc version of 1887 was considerably longer than that thur Nikisch and Franz Schalk resulted from their of 1890 (the basis of the first edition) as the follow­ practical experience and convictions gained at re­ ing diagram shows: hearsals and performances. Even Beethoven heeded the advice given by friends, and one needs only to First Second Second First Version Version Version Edition remember the protracted session in the Palace of (1887) ( 1890, (1890, (1892) Prince Lichnowsky when thc reworking of the opera Haas) Xowak) "Leonore" was discussed. It should not be overlooked First Mov't ...... ,}53 417 417 417 that Bruckner had heard his works (except the Fifth Scherzo ...... 209 195 195 195 and Ninth) and was very well in the position to ob­ Trio ..... 93 93 93 serve and to judge the merits of the ideas his friends Adagio ... " ...... 329 301 291 291 and adviscrs offered and to decide upon them. The Finale ...... , .... 771 747 709 705 very intricate question as 'to whether the original versions or the first editions should be used for per­ In its first version the symphony vvas a creation of formances is by no means conclusively answered yet. enormolls dimcnsions \vhich had bewildered Levi, The present \'i,riter, who had in his student days not and the subsequent reduction hrought ahout concise­ only the opportuni~y of hearing Bruckner's composi­ ness and greater coherence. The procedure, prac­ tions under the direction of Uhve and Schalk, but ticed by Haas, to restore passages removed hy Bruck­ was also privileged to play them when they presided ner can hy no Illcans he condoned. Although con­ over the orchestra, is not prepared to discard the first sidering the purification of Bruckner's works, as his editions as arrangC'll1ents and accept the original ver­ foremost editorial task. Haas nevertheless insert('d as sions instead. Excluding the first edition of the Ninth "organically vital" passages which Bruckner himself for which Lowe accepted the responsibility, the case had eliminated after careful deliberation. Nowak is far from being closed since a new editorial policy points out (Otsll'freichische Musik::eitschrift, May was e;;tablishcd for the Complete Edition and first 1955) that the version of 1890 comes close to the first <.lpplied to the Eighth Sym/)hony. edition which is another way of saying that this cri­ ticiZ('d and maligned (·dition actually follows the ver­ sion of 1890. It differs structurallv onlv once from The Version of 1890 Bruckner's autograph. In the expo;ition 'of the finale After the collapse of the Third Reich, for whose there is a six measure reminiscence of the Adagio of Kulturpolitik the promotion of Anton Bruckner and the Seventh which Bruckner had removed from the the Complete Edition was an important concern, corresponding part in the recapitulation. Nowak ad­ Robert Haas was relieved frolll the editorship of the mitted the inconsistency hut refused to eliminate the Complete Works and replaced by Lcopold Nowak. passages in accordance with the first edition. Nowak's first achievement in this capacity was a new edition of the Eighth. Published in the spring of 1955 I. Allegro moderato the new score definitely is to supersede the edition The symphony is scored for 3 flutes, ;) oboes, ;) presented hy Haas in 1939. It is used for the present clarinets, 3 hassoons (the third interchangeable with recording. Nowak explains in the foreword that Haas' eontra-hassoon), 8 horns of which 4 arc interchange­ edition, which bears the designation "Orir.;inalfas­ able with Nibdungen tubas, :) trumpets, :) trombones, ,lung" on the title pag(', actually represents a combina­ 1 douhle hass tuha, 3 kettledrums, cymbal and tri­ tion of two versions: the first venion of 1887 - re­ angle (in the third movement) , 3 harps (in the second jected by Levi and the version of 1890. Needless and third movements), strings. to say, this score can not be claimed as representing Bruckner's ultimate artistic intention, and Nowak's The first movcment displays a clear-cut sonata form. categorical rejection of the method Haas applied in There is a three part exposition, a three part develop­ this particular case and to the Second Symphony, ment and a three-part recapitulation. Even a brief one must add - is a declaration of war against the analysis would require much space and num(~rous editorial policy hitherto followed in the Complete musie examples. Thus our discussion must be con­ Edition. The new edition dropped the designation fined to a few outstanding features. The C minor "Original Version" and defines the score as Version Symphony opens in F minor and the tonic is only of 1890. It marks a turning point in the issuance of touched en passant. The second theme shows a favorite rhythm of Bruckner, already apparent in the main theme. The first dynamic climax is followed by a modified restatement of the opening theme in the bass accompanied by a violin tremolo in very high position. The development opens with a dialogue of the tubas and oboe. Later on a tremendous climax reaches its peak in the combination of both the first and second themes in augmentation. The recapitula­ tion shows a diffl"rent picture from the exposition. The theme is stated bv the oboe in C minor. but there is a counter melody il; D flat, announced by the flute, one of the first examples of polytonality. There is an­ other climax in the closing group. but its power is spent rapidly and thereafter only thematic fragments are heard to the end of the movement.

II. Scherzo - Allegro moderato A piece of perfect regulanty (A B A) the Scherzo exhibits two contrasting c\l"ments: the flutter­ ing tremolo of the violins and the sturdy, stocky phrase first announced by the violas and violoncellos. Orig­ inally associated with Bruckner's friend Almeroth, the composer later regarded it as a musical symbol of the "Deutscher .Hichel". The Trio in A flat also shows the A ~- B ..~ A design and is almost an adagio in character. III. Adagio Fcierlich langsam; doch nicht schleppcnd (Solemn and slow but not dragging) The Adagio in D flat major is perhaps the longest in symphonic literature. It is a sonata moveml"nt of very great dimensions and deviates significantly from the ordinary pattern. The basic form is clearly pre­ served. The exposition contains four theme complexes, which are manipulated ill the development but partly omitted in the recapitulation.

IV. Finale Fcinlich, /licht schndl (Solemn, not fast) It is a SOllata movement of extraordinary propor­ tions: Expo~ition 252 measures Development 184 measures Recapitulation 210 measures Coda 63 measures There are three theme complexes: the energetic main idea, a carillon motive effecting the transition to a mild choral melody and the closing theme charac­ terized by falling fourths. The development shows two divisions, each ending with a great dynamic climax. Almost the entire thematic material of thc exposition is manipulated and appears in contrapuntal COIl1­ binations. The recapitulation enters in full force. Elaborating on the main ideas, it uses powerful dy­ namic developments which arc topped in the Coda. The Coda begins pianissimo in C minor and increases gradually in power and sonority. The climax is reached with the turn to the major key and then the tonic is victoriously maintainl'd throughout thl' last twenty­ three measures. The dynamic climax is matched musi­ cally and spiritually through the combination of the main idea of all four movements: I in hasses, trombones, douhlebass tuha, bassoons II in fiutes, clarinets, trumpets III in horns IV in tubas. In the conclusion of the symphony the unification of disparate clements is nobly achieved; and the major triad emerges victorious, elevated to sublime heights amid overwhelming orchestral splendor.

JOSEPH BRAUNSTEIN